We Get Requests

I never cared much for the plethora of Peterson recordings featuring fantastically difficult funky single note runs seemingly issued forth quite mechanically which I found all too glib and tiresome. And though I have since learned to enjoy some of his other records this one has always been my favorite. Some have criticized its use of pop tunes as commercial but back in those days many of us liked hearing great players work out on numbers we were familiar with and could understand. Jazz was very popular mid 1950s to mid '60s and that was one of the reasons why. Peterson's trio with Brown and Thigpen was one of the best small ensembles at the time and this recording captures them at their height. Peterson, one of the ultimate jazz technicians, was very adept at creating and voicing chords in a way that made them especially fresh and attractive. By which I mean he would play to bring out certain notes of the chords and give them more prominence. Which marked his style as more individual and lively. Yes they could blow your socks off but they could also entertain with more subtlety and restraint which they do on this recording. Though a little annoying that they did not take the time to really learn People, which they truncate, or Corcovado, which they simplify. But nobody is perfect, least of all the great Oscar Peterson Trio, which was one of the most successful live jazz attractions at that time. Nonetheless a highly enjoyable listen, as it was when released in 1964 or '65. I have spent many a wonderful half-hour with this recording over the years.

I was sad to read that Mr. Thigpen passed away in January 2010. So my tribute to this now departed trio is my attempt at reviewing what has to be one of the best recorded jazz albums ever made.If you are reading this, I am going to assume that you are already familiar with the Oscar Peterson Trio. As with every album this Trio recorded, you get a little bit of everything. There is electricity, speed, calmness and joy. Where this album surpasses the others is in the quality of the recorded tracks. Whether you have an audiophile quality sound system or computer speakers, you will be able to hear the differences I am attempting to explain. Ray's bass comes out perfectly from one speaker and the quality is so excellent you can even hear him scatting while he is playing (check out the intro of You Look Good to Me). Ed's playing issues as perfectly from the opposite speaker. And I was amazed to hear all the little things that Ed does while playing as opposed to just keeping the beat. The recording is so clean that you can actually focus your ears to the bass or drum lines or just let Oscar's playing take you away.If you could care less about hearing the playing of each memeber, have no fear the selection of songs has to be one of the best groupings the Trio every put down on tape. If you like the samba sound, listen to the Girl from Ipanema; 70's music more to your liking, the Trio covers People; prefer a good ballad, Time and Again will fill that niche and if you just want straight up jazz, I would challenge you to find a better example than Goodbye J.D.For those that do have an audophile quality system with a turntable, get the re-released vinyl. It is dynamic.Why can't the record companies produce music like this any more? I sure miss those guys.

This 1964 session tends toward the "commercial" Oscar Peterson. Ten tunes, only one clocking in at over 5 minutes (5:11), with Oscar playing with restraint, finesse and polish, backed by his best rhythm section. The "concept" was to have the great pianist perform tunes not normally in his repertory but frequently requested by fans. At the same time, none of the last three tunes is familiar, though the closer features full-blown hyper-virtuosic Oscar at full speed.The audio on the 1997 CD reissue is as good as it gets. Ray Brown's bass retains all of its natural, personal character; Thigpen's drums are crisp and present; Oscar's piano is bright and perfectly mixed--and it's a spacious sound that you would never hear on a Van Gelder recording.If you really want to hear Oscar smokin' on every tune, playing with his "serious" game face on and from this same period, go to the recordings from the "Exclusively for My Friends" series, made at the Black Forest estate of Hans Brunner Schwer for his German MPS label (now out on Verve). Start with "The Lost Tapes" (Vol. 1) or "In a Mellotone" (Vol. V), but fasten your seat belt first. No mellow Oscar on this one--just a volcanic force unleashed. If that sounds like too much to start with, get your feet wet with "We Get Requests."

I've read conversations all over the internet about which release of this album sounds best. I've haven't heard many of them but this one on my Vandersteen/Electron Kinetics two-channel rig sounds better to me than the release I bought back in 1984 when CDs first came out. I think my old CD is a German release--don't recall details. Anyway, though, the real reason for having this issue is the liner notes. Wonderful commentary on a legendary jazz recording.

Bought for the one track - The Girl From Ipanema, but, I ended up loving the entire album. This cd is a staple in our car and home listening; it never fails to lift my spirits. Oscar Peterson's music always does...anytime, anywhere.

I own a lot of jazz albums, about a dozen by Oscar Peterson in various iterations. This (genuine Verve) CD stinks. I've heard better piano tone and definition on cassettes. It's not the age of the recording; "Night Train" was recorded in 1963, two years before this, with infinitely better sound.The songs are gimmicky. Is this a lounge lizard masquerading as Oscar Peterson?

I like this jazz album as I prefer small groups. It was a 2019 release of a 1960's album. I didn't know that when I purchased it so I was pleasantly surprised that is was truly new. The vinyl was perfectly quiet.

Some issues with the pressing on side 2, but very minor.

Brought this album on DOL label but that label is nothing to do with the original artist or recording company so buying this on a verve reissue was an excellent option

This Japanese issue (UCCU-99005) of We Get Requests has a much much cleaner sound than the 1997 Verve Master Edition supposed 20bit digital remaster. There is less tape hiss & less wow & flutter as presumably it is taken from an earlier generation master tape (of the liner notes that are in English just the original 1965 LP text is printed so no details on this). Well worth the money - makes this album a much more enjoyable experience to listen to.

Heard it during TV docu its just so cool

Oscar Peterson at his best

As always brilliant musicianship.